زیبایی شناسی زبانِ طنز التّفاصیل تولّلی با تأکید بر گلستان سعدی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
التّفاصیل یکی از معروف ترین آثار طنز معاصر است که از طریق نقیضه پردازی، مفاهیم انتقادی- سیاسی را به مخاطبان خود منتقل می کند. این کتاب برخلاف آثار دیگر این حوزه که معمولاً تاریخ مصرف مشخصی دارند، هنوز جذاب و شیرین است. به نظر می رسد بخش عمده ای از زیبایی های این اثر به زبان آن مربوط است. به باور اغلب منتقدین، زبانِ التّفاصیل به شدت تحت تأثیر زبان گلستان سعدی است. از منظر نقد جدید، جمال شناسیِ زبان سعدی در تلفیق دلنشین زیبایی های برونه و درونه زبان ایجاد شده است. حال، پرسش این است: تولّلی در انتقال مفاهیم سیاسی- انتقادی از زیبایی های زبان سعدی چه بهره ای برده که طنزش هنوز جذاب است؟ برای رسیدن به پاسخِ مناسب، ابتدا مبانی نظریِ مهمی چون زیبایی شناسی برونه و درونه زبان تبیین شده، سپس زیبایی شناسی گلستان سعدی در دو حوزه برونه و درونه زبان شناسایی شده و در ادامه زیبایی های کتاب التّفاصیل در این دو حوزه به روش توصیفی- تحلیلی مورد مطالعه تطبیقی با گلستان قرار گرفته است. نتایج پژوهش نشان می دهد که تولّلی در خلق التّفاصیل زیبایی های درونه زبان سعدی را چندان درک نکرده است و به همین دلیل نتوانسته از ویژگی های آن بهره ببرد، اما زیبایی های برونه زبان گلستان را به خوبی دریافته و از آن در خلق زیبایی های زبان التّفاصیل استفاده کرده است. بنابراین، زیبایی-شناسی التّفاصیل به شکل معنا داری به سوی زیبایی های برونه زبان گرایش پیدا کرده که مهم ترین نمودهای این نوع زیبایی شناسی در بازی های زبانی، کاربرد عناصر علم بیان، بدیع لفظی و معنایی به چشم می خورد.The Aesthetics of the Satiric Language in “Tanz Al-Tafasil” by Fereydoun Tavallali with an Emphasis on Saadi’s “Golestan”
Al-Tafaseel is a renowned piece of modern satire that effectively communicates critical-political ideas to its audience by employing contrasts. This book possesses enduring allure and charm, in contrast to other works in its genre that typically have defined periods of relevance. The beauty of this work is mostly attributed to its language. Al-Tafasil's language is widely regarded by critics as being heavily influenced by the language used in Saadi's Golestan. According to the perspective of new criticism, the aesthetics of the Saadi’s language are formed by the harmonious blend of both the exterior and internal qualities of the language. Now, the question is: What advantages did Tavallali employ to effectively communicate the politically critical ideas on the aesthetic appeal of Saadi's language, which continues to be captivating due to its humor? To get the correct response, it is necessary to first understand key theoretical principles, such as the external and interior aesthetics of language. Next, the aesthetic aspects of Saadi's Golestan were examined in two distinct domains: external and interior. Subsequently, a descriptive-analytical investigation was conducted to explore the aesthetic qualities of the Al-Tafasil in these same domains, drawing comparisons to Golestan. The research findings indicate that Tavallali lacked comprehension of the intrinsic elegance of the Saadi language when crafting Al-Tafasil, which consequently hindered his utilization of its distinctive characteristics. However, he demonstrated a strong grasp of the outward charm of the Golestan language and effectively incorporated it into the development of the aesthetic qualities of the Al-Tafasil language. Consequently, the focus of describing things has shifted greatly towards the outward attractiveness of language. The most prominent examples of this aesthetic approach may be observed in language games, the incorporation of expressive aspects, and the introduction of novel verbal and semantic techniques. Introduction Satirical writing is a highly effective method for illustrating the diversity of society. Language is initially introduced to the public in the realm of comics. When comedy is used effectively, it captivates the audience's attention and stimulates their interest in the subject matter. However, if humor is not employed skillfully, readers will quickly lose interest and abandon the piece. Saadi’s Golestan is regarded as one of the most innovative literary works in the Persian language, notable for its significant features. He demonstrated the persuasive and expressive capabilities of language through his enjoyable satires and inspired other satirists to emulate his approach. Fereydoun Tavallali is a highly accomplished individual who gained recognition from contemporary scholars for his creation of the book Al-Tafasil, which employs contrasts as a central theme. Based on the previous explanations, it can be concluded that the primary focus of this research is the aesthetic aspects of the descriptive language, specifically in relation to Saadi's Golestan. Thanks to the influence of Saadi’s Golestan, Tavallali was able to utilize the language of explanation to effectively communicate critical, political, and social issues to his audience in a communicative and persuasive manner. Literature Review An enduring accomplishment of the constitutional age is the presence of enduring humor in literature. One notable example is the book Al-Tafasil by Fereydoun Tavallali (1331), which has garnered the attention of esteemed individuals due to its distinctive style and language. Malakshaara Bahar, the unequivocal authority in Iran's poetry and culture during this period, lauded Fereydoun's wit and the refinement of his aesthetic. (Shafiikadkani, 2013) Shafiikadkani believes that Tavallali possesses a strong foundation in the realm of humor. (Ibid.: 504) In his work Naqeedah and Naqeedah Pardazari, Akhwanthalth (1376) asserts that “Al-Tafasil is characterized by a highly imaginative and artistic writing style." The year 1376 marked the establishment of the Third Brotherhood. In his work "History of Humor in Persian Literature," Hasan Javadi (1384) includes Tavallali as one of the satirists who emerged after the constitutional period. Mousavi Garmaroudi (1380) describes al-Tafasil as a valuable literary work. In his work "Ali Baba Chahi," published in 1380, Bang Delaviz highlights the artistic allusions and asserts that the comedy in Al-Tafasil is more invigorating compared to that in Karavan. In " Fereydoun Tavallali and his Works," Abdul Ali Dastghaib (1367) demonstrates a greater inclination towards analyzing the social and political intricacies. (Dastghib, 1367) Mehdi Parham and Mohammad Reza Tabrizi (1370) additionally discuss the societal and political influence of Al-Tafasil satires in Tavallali’s dedicated publication. In his paper "Al-Tafasil Deficiency of Golestan," Omid Gargari (1388) has analyzed the fundamental aspects of Al-Tafasil in relation to Saadi's Golestan. An analysis of the study backdrop reveals that the majority of existing literature on Al-Tafasil has focused on its content and comparisons while neglecting the significance of language as a key aspect of beauty and literature. The author of this article sought to extract the aesthetic elements of descriptive language by closely examining the beauty of Golestan Saadi's sarcastic language, with the aim of uncovering the secret behind its perfection, as described by Shafiikadkani. Methodology This article provides a descriptive-analytical study of the beauties found in the Al-Tafasil, specifically focusing on the inner and outer beauty of the language. The comparison is made with Golestan. We analyze each of the resulting components using the imperfect inductive technique, providing examples from the Golestan and al-Tafasil. Conclusion This essay examines Al-Tafasil's linguistic aesthetics in two distinct categories: exterior and internal language, with a focus on Saadi’s Golestan. The purpose of the research is to get the following results: One aspect of language's intrinsic elegance is its conciseness inside the language. We evaluated two anecdotes from each, using an equal number of words from Golestan, to assess the conciseness of al-Tafasil in comparison to Golestan. Upon analyzing the anecdotes, it becomes evident that Saadi's sentences are of lesser length compared to Tavallali’s words. Golestan's brevity mostly consist of palace brevity; however, their specific usage has not been specified. Qasr in Golestan is characterized by its shortness, with most of the omissions in the sentence structure being in the form of spiritual analogy. However, when it comes to the details, the omissions are primarily in the form of verbal analogies. The use of letters, particularly the letter Vav, contributed to the brevity of Golestan's sentences. In Golestan, the term "vevet" is frequently employed, resulting in the creation of artistically concise lines that possess a notable level of eloquence. However, the use of the letter "waw" as an inflection in the sentence structure causes the sentences to elongate in terms of their details. The use of syntactic equilibrium and the fusion of internal and external linguistic elegance through the application of balances in Golestan prose is another rhetorical element in the realm of internal language. However, this characteristic is exceedingly uncommon, and whenever it does manifest, it is a linguistic deception and a testament to the author's artistic prowess. As a result, Tavallali lacks a proper understanding of the profound elegance of the Saadi’s language in Golestan. Consequently, he frequently distorts Saadi's beautiful syntactic harmonies into saj’. Outer Language: The analysis of the Golestan language and Al-Tafasil reveals that Tavallali placed a greater emphasis on the Saadi’s language in order to enhance its aesthetic appeal. Thus, the frequency of creative features and the manifestation of al-Tafasil and Golestan are frequently in proximity to one another. Tavallali used irony only in the superficial aspects of language, while Saadi skillfully emphasized and embellished Golestan by employing both external and internal allusions at the same time. Simile is an additional component that enhances the linguistic beauty of Golestan and Al-Tafasil. Al-Tafasil similes mostly consist of sensory and intricate comparisons, which tend to lengthen the sentences. Conversely, Golestan similes often serve as supplementary comparisons, aiding in the condensing of sentences. The utilization of the plural form has further emphasized the origin of descriptive language. This feature enhances the number of inflections in the sentence and elongates the length of intricate phrases. Saadi used conjunctions and the word "va" instead of plurals and inflectional letters, resulting in concise sentences and a more melodious writing style. Al-Tafasil primarily concentrated on the language of Saadi’s Golestan. The linguistic excellence of this book contributes to its enduring popularity, making it a successful work.